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la Biennale di Venezia
Main Visual Sezione Cinema EN (new)


69th Venice International Film Festival

Director: Alberto Barbera

29th August > 8th September 2012

Out of Competition

All sections »
The first communion and the blitz of 7 April. Games with friends and the kidnapping of Aldo Moro. Sfiorando il muro is a film about the 1970s from an unusual viewpoint: a woman who was a girl at the time emotionally recalls the demonstrations and graffiti. There is a reason: the filmmaker’s father, Graziano Giralucci, was killed by the Brigate Rosse together with Giuseppe Mazzola in 1974 in the MSI headquarters in Padua. They were the terrorist group’s first victims. To understand how it was possible to accept and consider inevitable political violence, the filmmaker searches out those who perpetrated it, those subjected to it and those who fought it—from the autonomi political group to the Fronte della Gioventù, from the magistrate Pietro Calogero, who ordered the blitz on 7 April against Toni Negri, to Guido Petter, a university lecturer and ex partisan beaten about the head with a hammer, and finally to the union leader who became a “grass” and was forced to hide for years just for having told the authorities everything he remembered about his time as a militant in Potere Operaio union. This journey between different and at times irreconcilable points of view also becomes a way for Silvia Giralucci to reconcile herself to the painful memory of her father, viewed as a martyr and symbol by his political community, a victim long considered guilty merely for being rightwing, a father present only in her dreams.
31 August 09:30 - Sala Grande 1 September 14:30 - Sala Perla 2 September 17:30 - Sala Perla 2 OUT OF COMPETITION Sfiorando il muro [Special Screenings] by Silvia Giralucci, Luca Ricciardi - Italy, 51'
language: Italian - s/t English
(documentary) Guido Petter, Raul Franceschi, Antonio Romito, Pietro Calogero, Stefania Paternò, Silvia Giralucci
Director’s Statement
I was a little girl when I saw the graffiti “Freedom to the comrades of April 7” scrawled in red alongside a hammer and sickle emblazoned on the wall opposite my grandmother’s house. I read it without understanding it but it upset me. When my son asked me recently: “Mum, is it true that your dad was shot?” I understood that in order to give him an answer I had to face that dramatic period of the 1970s. I began, starting with that graffiti. I looked for those who, like the graffiti artist, thought that politics were worth living and dying for, whether sacrificing political opponents or friends, and those who risked their lives to defend our democracy. I didn’t look for him, but somehow, in the spirit of that decade, I think I found him. (Silvia Giralucci)